This, like the first part of "The Soothsayer", is obviously a reference to the Schopenhauerian
This essay demonstrates that while Horkheimer shared much of the Schopenhauerian
presuppositions as Nietzsche, he nevertheless rejected Nietzsche's anachronistic essentialization of Christianity as mere slave morality, and attempted to answer godless nihilism through a determinate negation of religion, i.
Likewise, in an earlier series of essays, D'Annunzio criticized Wagner, focusing especially on his Schopenhauerian
elements and emphasizing the alternative presented by the philosophy of one of Schopenhauer's greatest students and critics, Friedrich Nietzsche--these essays are now collected as Il caso Wagner.
Acquired Character, Self-Control and Morality: Towards a Comprehensive View of Schopenhauerian
This dialogue contrasts a hypothetical ontologically-optimistic world's vision--which Schopenhauer actually described as 'wicked or pitiless' (5) --with a hypothetical ontologically-pessimistic Schopenhauerian
He pays a price for his beliefs that can hardly sustain him, carrying on through the city's bleak mist, pushed by a Schopenhauerian
will to live, a will to endure humiliation and rejection for the sake of "belonging".
In this section, I will also demonstrate the final dissolution of these aesthetic dualities of the beautiful/sublime and Apollonian/Dionysian after Kant's forced reduction of the sublime into a mere appendix to his third Critique and his declaration of the sublime as an aesthetically acquired moral idea and Nietzsche's departure from the Schopenhauerian
philosophy and his redefinition of the Dionysian as a predominant force that moves, directs and thereby justifies ethos through the realization and representation of pathos in human nature.
In Robinson Jeffers's sense of the term, he is an "inhumanist," although he attempts to shake off the Schopenhauerian
superior glare of Jeffers.
250), to recast the qualities that Bonds presented in Part II: the role of expression and beauty are all but wiped out; the importance of form and autonomy is enhanced with the idealization of abstraction and purity; disclosiveness, finally, is limited to a Schopenhauerian
view of music as representation of Will.
Later he would glorify the female voice, and turn to collaboration with librettists, as he "freed himself from his over-reliance on Wagnerian and Schopenhauerian
One significant stumbling block to completing this task is Nietzsche's prominent use of Schopenhauerian
terminology and motifs.
That is, there is no Schopenhauerian
determination that music is the highest form.